Thursday, November 30, 2017

WET Scores: Carnegie Hall Premiere of "Delinquent Spirit...". January 9, 2015. Nicolas Horvath, Piano. Bil Smith Composer:









Nicolas Horvath, Pianist with the score to “Delinquent Spirit of a Drowned City” 

Early this year, I was honored to be part of this amazing event which saw my composition, "Delinquent Spirit of a Drowned City", first performed in Paris by Nicolas Horvath, have it's US Debut at Carnegie Hall on January 9, 2015.

The program was unique : the world premiere by a single pianist of all the 20 Philip Glass Etudes, alongside with world premieres from composers such as Alvin Curran, Jaan Rääts, Régis Campo, Tom Sora, Michael Black, Eve Beglarian, and Lawrence Ball.

Nicolas is a brilliant pianist with a vision for programming that is rarely found.  His innovative performance on New Years Eve (December 31, 2014) in Kiev lasted for 22 hours and included all of the Glass Homages.  

“Delinquent Spirit of a Drowned City” for Solo Piano



Jhenna Marche
“Delinquent Spirit of a Drowned City” for Solo Piano

U.S. Premiere by Nicolas Horvath

January 9, 2015
Carnegie Hall
New York, NY

Produced by New York Artists Management
Jasna Popovic

Bil Smith Composer
Co-Conspirators:  Jhenna Marche, Siyang Gong



 
Carnegie Hall Concert Announcement



From The New Yorker...


"In December of 2012, a prodigious Monacan pianist named Nicolas Horvath gave a performance in Tokyo that lasted thirty-five hours. It was his eighth solo presentation of “Vexations.” “No food or drink for three days before the Vexations,” he explained to his fans in the comments section of his YouTube channel, where he posts six- and nine-hour segments of his marathon performances. Responding to a newcomer, he said, “28 hours is pretty nice indeed but alone it is very hard. Pain starts past 6 hours; Madness starts past 12 hours; Hell starts past 20 hours!”

_______________________________________________________________________

The score: Four (4) independent pages, 27.5” X 17.5” on boards; three (3) transparencies, 17.5” X 3.35”, Performance Notes book, portfolio enclosure and oil on canvas 46” X 31” (integument).

This work is inspired by Philip Glass’ “The Light.”  Glass composed this work in 1987 to celebrate the 100th anniversary of the Michelson-Morley experiment, whose data, failed to demonstrate their hypothesis, but led to discoveries about special relativity and the speed of light; and ultimately, the impact on light and color.
Enclosure for Score

_______________________________________________________________________


The compositional structure is based on W.V.O. Quine’s theories of holophrastic indeterminacy, or “…indeterminacy of musical performance translation.”  This is one of two kinds of indeterminacy of performance interpretation to appear in his writings. 

Colophon and Performance Notes


According to Quine, “There is more than one correct method of interpreting (translating) notations where the two interpreters differ not merely in the meanings attributed to the sub-sentential parts of sounds but also in the net import of the whole composition.”


It is holophrastic indeterminacy that underlies Quine’s argument against synonymy, the basis of his objections to Rudolf Carnap’s analytic/synthetic distinction.
 
The pianist is empowered, yet restricted by the presence of textual references and neologisms, inferred tablature (transparencies) and direct tablature (found on the far right side of the four (4) large pages of the score). 

The focus on combinatorial tablatures and tactical notational systems represent my interest in the efforts my musical allegory makes to affect change while grappling with the notion of radical—whether as a self-identification or a prescribed moniker, or both—and the mutations of disruption, authority, activism, and ethos that take place.  I am curious about the actuality of innate constructions determining one’s aesthetic and sociopsychic passion and sense of agency.

“Delinquent Spirit” is a platform for investigating intentionality and the rapport I have to documentary or archival forms—a fragile and volatile place for both the object and subject.  Authenticating experiences through new musical representations quickly impresses a contemporary psychological form of recognition. Within these mediated forms of cognition, music establishes a further expanded dimensional presence. Ultimately, it is challenging to understand this work as a completed form or even as a record—it is something that is permeable and flexible.



Biography:  Bil Smith, Composer


Bil Smith is a composer, instrumentalist and neologist.  His work has been programmed by leading contemporary music ensembles and his scores have been published and exhibited in art galleries throughout the world.

Bil’s compositions have been performed by specialist ensembles and soloists including members of the San Francisco Symphony Orchestra, Ensemble Moderne, The Düsseldorfer Symphoniker, St. Petersberg Philharmonic Orchestra, Kyushu Symphony Orchestra, Helsinki Philharmonic Orchestra. Schoenberg Ensemble Amsterdam, Ensemble Gelade, Qingdao Symphony Orchestra, Dresden Philharmonic, and Oslo Sinfonietta.


Early in his career as a jazz trumpeter, he performed with the Thad Jones/Mel Lewis Orchestra, Anthony Braxton, Toshiko Akiyoshi, Gary Burton, Steve Lacy, Lester Bowie, Kevin Eubanks, Quincy Jones, Max Roach and Michael Gibbs. 

As a Neologist, Smith founded Addison Whitney, a consultancy dedicated to creating brand identities for global companies and organizations.  Deeply rooted in the etymology and linguistic foundations of words, Smith created a dynamic new system of word generation, which led to the creation of the brands Viagra (Pfizer), Outlook (Microsoft), Escalade (Cadillac), Xbox (Microsoft), Lexapro (Forest Labs), Element (Honda), Advair (GSK) and Access (Microsoft).  He has been responsible for the creation of more than 1100 brand names globally since 1991.

He identifies himself as an inter-disciplinarian composer, incorporating combinatorial techniques including neologisms, prose, painting, sculpture, drawing and combustion, as well as traditional elements of music composition to his work.



Nicolas Horvath, Piano.  Carnegie Hall.  January 9, 2015



Complete program : 

Philip GLASS : Etudes 1 to 10 

Jeroen van VEEN (hol) : Hommage for Philip Glass (USA premiere) Frédérick MARTIN (fr) : Glass in Mirror (USA premiere) Konstastin YASKOV (by) : Moonlight Sonata for Philip Glass (WP)Stéphane DELPLACE (fr) :Hommage à Glass (USA premiere) William SUSMAN (usa) : 1937 (USA premiere) Andre Vindu BANGAMBULA (cd) : Homage to P. Glass (WP)Eve BEGLARIAN (usa) : Enough Holes (WP)Tom SORA (de) : Glassplitter (WP)Tom CHIU (tw): laborets version 2.0 (USA premiere) Sergio CERVETTI (uy) : Intergalactic Tango (WP)Régis CAMPO (fr) : Smiley !(WP)Jaan RÄÄTS (ee) : (WP)

Intermission 

Bil SMITH (usa): Delinquent Spirit of a Drowned City (USA premiere) Paul WEHAGE (usa) : Early Morning:New York Skyline (USA premiere) Michael Vincent WALLER (usa) : Pasticcio per meno è più (WP)Alp DURMAZ (tr) : Bustling (WP)Gilad HOCHMAN (il) : Broken Glass (USA premiere) Ehsan SABOOHI (ira) : Where is the friend’s house? (USA premiere) Lawrence BALL (uk) : Glass Ball Game (WP)Paul A. EPSTEIN (usa) : Changes 6.1 (WP) Alvin CURRAN (usa) : The Glass Octave (WP)Michael BLAKE (za) : Shard (WP)Victoria Vita POLEVA (ukr) : NULL (USA premiere) Mamoru FUJIEDA (jp) : Gamelan Cherry (USA premiere) 

Philip GLASS : Etudes 11 to 20 

Wednesday, November 29, 2017

"Transcript of Cryptic Formulae and Insoluble Dreams". The Score For Piano.


Transcript of Cryptic Formulae and Insoluble Dreams

For Piano

Bil Smith Composer

2013-2015




Lodestar One. Bil Smith Composer








Where there is so much talk of liberation there are sure to be very disturbing reverberations within the world of established, acceptable criteria. The liberation of words, objects, sounds, etc., should be seen as different from the confusions surrounding the idea of making them free. They are already free, before anyone ever thinks of using them. The idea of them being liberated is relative to the use that they have been put to (and enslaved by) in the past.

They cannot be more free than they are, but they can be liberated from their conceptual inheritance, and we from ours. That is the point at which we can realize that we are already as free as words, objects, and sounds are. Everything is then free to move in all directions to all meanings.

Earle Brown, 1965

Temblors Rising From Under The Pool. For Ensemble

Temblors Rising From Under The Pool

For Ensemble

Bil Smith Composer

2016

Recognizing how numerous experiments have demonstrated that notational systems have the ability to bond tightly, this work grafts idiomatic passages together so that different themes and registers are spliced in a sort of intellectual surrealism.




Sunday, November 26, 2017

"Aftonian Sequenza" For Solo Instrument



"Aftonian Sequenza"

For Solo Instrument

Bil Smith

I’m really interested in examining not only the status of the notation as a potential form of agency in and of itself, but also the question of what the figure of agency is in composition; and trying to somehow work through this ideal of interpretation in music composition.





"Verna Blase Tomassi" (A Compaction Music). Recording on SoundCloud







"Verna Blase Tomassi" (A Compaction Music) for Chamber Ensemble, Shortwave Radio, Voice, and Modified Ultra WideBand Transformer 

Performed at Brooklyn Academy of Music, February 2013. 

Bil Smith Composer


From Harvard's Dan Tramte, "Ursatzing the Unursatzable"



Trailer to Dan's project Ursatzing the unursatzable.


"This work blurs the distinction between composition and theory by transforming the latter into a creative practice such as the former, and thus packaging the two into a ‘meta-art-form.’ 


Indeed, the composer/theorist’s virtuosity is measured by two factors: 1) his/her ability to find new and elegant methods to execute the analysis on the spot, and 2) the difficulty level of analysis for the piece at hand. 

I have, and will continue to analyze works by 1960s American Experimentalists (e.g., John Cage, Earle Brown, etc.), New Conceptualists (e.g., Johannes Kreidler), Compaction composers (e.g., Bil Smith Composer), and many more."

-Dan Tramte